![]() ![]() Ludwig Mies van der Rohe’s concern for a good building design was the use of material. The Seagram building was designed to use light as a unifying architectural feature. The Glass House_©Xavio Design Reflections from The Glass House_©Pinterest The Glass House during daytime_©Ryan Caron King Seagram Building – Ludwig Mies van der Rohe & Philip Johnson, New York Kelly believed that the blinds as a means to avoid glare would obstruct the exterior view and eliminate the feeling of spaciousness. To soften this glaze and reduce the contrast between outside brilliance and inside the darkness, Kelly used dimmers in his design to adjust the level of illumination. Simultaneously, it created a surprising contrast between brightness and shadow and heaved the eye from one focus to another. During the daytime, the penetration of natural light in the interior spaces created a continuous visual for the inside and outside. He found the art of lighting the day he designed the lighting for the Glass House. Kelly invented the principles of light in the interior and exterior space which he re-utilized in several residential and commercial spaces that displayed large extents of glass and curtain walls. ![]() ![]() He wanted to light the box in such a way that the lighting would have an effect on the interior materials as well as the psychology of the inhabitant. While designing the Glass House, Philip saw a challenge in illuminating the residential space. The element of ambient luminescence_©ERCO, Richard Kelly The element of focus glow_©ERCO The element of play of brilliants_©ERCO Glass House – Philip Johnson, New Canaan, Connecticut | Richard Kelly Looking at a few selected projects of Richard Kelly gives an idea of his theory and philosophy behind lighting design. This approach to lighting design created a balancing act for both interiors as well as exterior lighting design. Kelly was also an advocate for daylighting and believed that natural light would define the space, and artificial light would provide a secondary role in illumination. These three elements would naturally change as per the project’s criteria. The three elements that Kelly discovered were always present in his designs. Richard Kelly collaborated with architects Louis Kahn, Philip Johnson, Ludwig Mies van der Rohe, and Eero Sarinen, to name a few, and established a modern architectural lighting context that inculcated the material palette of modernism that reflected the element of reflection – glass, steel, and concrete. He understood the light’s ability to create a sense of visual awareness and to create a space that could evoke a variety of human emotions. As a series of lighting functions, Kelly designed and changed the gear of lighting according to the perceiving observer. The question of lighting quantity was replaced by the quality of individual light. In his designs, Kelly used uniform illuminance as the central criteria by breaking away from the rigid constraints of lighting. Kelly graduated from school in 1944, and by the 1950s, his work as a lighting designer led to the recognition of the terms such as ‘focus glow’, ‘play of brilliants’, and ‘ambient luminescence’ to describe the peculiar effects in lighting design.Īs a master of qualitative lighting design, Kelly culminated a uniform concept by abstracting ideas from perception psychology and theatrical lighting. ![]() Although, people would gather around to buy lighting fixtures from Richard Kelly. An American lighting designer whose new discipline as a lighting consultant was rarely taken seriously. A pioneer of architectural lighting design, Richard Kelly established his firm in 1935, even before enrolling at the Yale School of Architecture. ![]()
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